#over having the shapes being the MAIN defining thing of the character’s design. which is what a lot of art tutorial channels try to push.

[pinyatapix]

i dont like art tutorials that keep hammering in the idea that “circles are soft cute and friendly squares are sturdy and confident and triangles are MEAN and EVIL and FUCKED UP” because like,,,, it kinda feels like discrimination against triangles man

[deconstructthesoup]

One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

[abnomi]

IDK if i was the first to notice this or not but i havent seen anyone talk about this before!! i love going crazy over colors and now is my Chance.

something subtle but notable about Ralph's design is how he has a teal undershirt. (debatably turquoise or green or something, but it is teal in this post..sorry green/turquoise truthers...)

i wondered for a bit why exactly that was a feature of his design, as it stood out to me for some reason; its a contrasting color to red, his main color, of course, so i brushed it off as an accent.

upon further inspection, however, what does that mean with the knowledge we have of him wanting to be good? or about who he shares a connection with?

green/blue is generally known to symbolize goodness, as its the opposing color to red, a color that can represent evil or danger depending on its context.

as you can see here, this crude caricature of Ralph is lacking that extra pop of color; the nicelanders dont see the good inside of him, only seeing the external deep red hues :-(

it doesnt end there, though. which character in this film is represented by a certain teal color?

someone Ralph carries close to his heart, someone who helped define his personhood and who he is internally. that spunky racer girl who relied on him just as he relied on her. not just a glitch, but Vanellope.

Vanellope represents someone who is able to accept herself and grow stronger because of it, and in exploring her own identity, Ralph took a journey of his own alongside her. she's a figure of love, passion, and resistance. taking this into account, her main color symbolizes the same.

we can also see bits of red in Vanellope's design!

interestingly, the main spots we see it in are her licorice hair tie, the stitches and strings of her hoodie, and the bottom of her shoes.

now i could be overanalyzing this a bit, but each of these features have something in common: they're all used for support. the tie supports her hair, the threads keep her hoodie together, and her shoes let her run around and be a kid safely. yeah, she made all of those by herself on her own terms, but Ralph supports her too, right? shes the heart and hes the practicality.

not to mention the MEDALS OHHH the medals. beware ⚠️🚨 im going to overanalyze this like crazy ok let me be neurodivergent about this

all three of these medals have differences that could mean a variety of different things. I'll break each one down individually:

Vanellope's gift

handmade with love, the medal itself is teal (if we ignore the brown underside). as stated before, teal implies love and resistance. this is also quite obvious due to the gift being heart-shaped.

relating to that last point, notice how he wears it close to his chest? it's practically a second heart to him! what else is close to his chest? TEAL UNDERSHIRT. wow!!! so that love was there with him the whole time!

the ribbon itself is pink, not blue or red like traditional medals. this is less significant, i will admit, but i find it nice how its so simple yet defies what a "real" medal is meant to look like, ESPECIALLY in relation to Ralph's expectations as to what a medal should be.

Hero's medal

It's a reflective gold, something that hypnotized Ralph immediately upon being greeted with it (kind of like a certain racer heeheheehoo)... this is all pretty obvious; gold is for winners, and supposedly, only heros can be winners.

something a little less obvious, though, is the blue of his ribbon. so, why is it blue, specifically? now, this isn't teal, this is more of a royal blue. something similar to Felix's palette... a hero. Ralph treats goodness as something attainable, love as transactional. it's not real, it's not genuine. he wears this symbol of heroism without truly EARNING it.

The cake

notice how the ribbon around his neck is red in this imaginary scene? the medal designed for Felix and his wins? his contrasting color? on Ralph, it's almost indistinguishable from his shirt because he isn't supposed to wear it. it wasn't created with him in mind.

ok ok just one more thing. ☝️ Turbo and Ralph parallel with their color schemes.

red as a color carries a dual meaning. on one hand, it can mean passion, love, adrenaline and strength. on the other hand, it could represent evil, malicious intentions, a warning, something dangerous. both Ralph and Turbo share red in their palettes; something to note, Turbo lacks any cool colors.

Ralph is seen as evil when he is truly anything but evil. the red makes him a bigger target considering his position, but this red relates to him internally on a more positive level. its his strength, what keeps his softer core safe. above his teal undershirt.

Turbo is seen as this intense fireball who's just passionate about racing, a little tough guy who just wants to have fun. we all know that this isn't the case. he is dangerous, he is a cautionary tale, a warning and simultaneously a threat.

considering how much as the two parallel each other, its no surprise that they share a color, one that can be interpreted in so many ways. one that ultimately means the reverse for their roles.

[fantasy-anatomy-analyst]

hello! sorry to bother you but i am currently working on character designs for my next d&d campaign. i am creating a winged elf inspired by avariels, and he will have some form of physical disability which causes them to be unable to fly. however, i am not very educated about physical disabilities, so do you know any which might affect limbs such as wings and any ways i could portray life with them and accommodations for them in a respectful way? any tips are appreciated. thank you :)))

Wing disabilities are a bit harder to research than regular human limb disabilities, but you might be amused to learn that the very first thing i found upon a quick search for bird wing deformities was something called "angel wing", found in many different bird species. I've linked the article I found. It develops over time and can be corrected, but obviously when it happens in wild birds they have no means to fix it on their own and it becomes permanent.

Angel wing is a deformation of the wrist area, making it droop and then turn outwards. Once it's permanent, the crooked shape of the wing makes flight impossible. If a winged humanoid had this problem, they would need to worry about things like how far the crooked wing sticks out, maybe bracing it to alleviate chronic pain. I'm sure something like that would cause pain, even if it wasn't mentioned in the article. It may be helpful to clip the feathers on that part of the wing, so they're not in the way. Finding a comfortable sleep position may also be a bit tricky.

Other possible wing disabilities which I have not researched at all but sound like plausible congenital issues for people with wings:

- underdeveloped wings. They never get big enough for flight, maybe the feathers never grow in properly, possibly they're also shaped wrong for flight. Could come with chronic pain, weak muscles/atrophy, etc.

- missing wing. Somehow just didn't develop a wing, or developed a nub where the wing should be. Could also be missing just the "hand" part of the wing.

- general feather growth problems. Weak feathers, feathers that come in short, chronic molting that causes a lot of unhelpful bald patches, etc.

- chronic joint pain. Wings appear to be normal, but the joints hurt a lot and movement is difficult.

You can also go the route of disability by injury, having a wing broken or amputated or otherwise harmed in a way that is difficult or impossible to recover from.

Overall, the accommodations needed could include pain relief, a brace to keep the wing in a comfortable folded position, feather clipping, massages, etc. Mobitiy aids to let this character fly without the use of their wings is easy to handle in fantasy because you could give him an enchanted flying device of some sort. Magical prosthetic wing might work, but that depends on the disability you're working with and also wing prosthetics are pretty tricky. It would not be as functional as a real wing. If the wings are fully grown and intact, but the problem is something like joint pain, then a flight brace to steady the wings could be useful. They'd only be able to fly for short bursts though, probably. But it would be akin to giving someone leg braces so they can walk, while also having access to crutches or a wheelchair. You can work with your dm on figuring out what's allowed in the campaign setting.

As for being respectful in how you portray the character, I think the most important thing is to let them be a full person. The disability is obviously a major part of their life, but they ought to have more personality than that. Hobbies, interests, attitude.

They're also allowed to be sad about the disability, but this should not be their main defining trait. I think it is pretty normal to be sad that you have a physical difference preventing you from doing something other people can easily do. The problem in fictional characters who are sad about their disabilities is that it often becomes Their Entire Thing and then the character arc is either "so I became evil about it" or "and then they died" or "but there was a magical perfect fix!" all of which obviously don't respect the reality of being disabled. But making them totally happy go lucky about it also doesn't work. So you just need the middle area there, as that's the most realistic one. How does it feel to have a permanent disability? Well, it ends up feeling pretty normal when you're used to it. Sometimes it sucks a lot. Sometimes you hardly pay attention to it. Focus on making your character emotionally varied and give them an interesting personality that makes their interactions with other characters more fun.

Roleplay games are great for that, because you'll have to mesh with the group and really flesh out your character relationships as you go.

Anyway I hope that was all helpful! No illustrations to show, because I'm sleepy today. But good luck with your character! And maybe go check out @cripplecharacters for extra advice on generalized disability rep if you haven't already!

[crooked-wasteland]

Man, those Tweets don't look good! I hate to judge but Viv strikes me as someone who would constantly self-plug on Wattpad despite being told not to and claim her work is so special with such bravado that everyone should check it out like "Ohohoho! It's so good like blahblahblah and like no other", then you see it's just like any other fanfic yet they're claiming it's empowering.

Helluva Boss isn't a show about a newfound family of mercenaries anymore! It's become a ping-pong battle between being a serious telenovela and comedy. I know not to make those mistakes because if we're having a serious conversation that doesn't require you to talk about your drawings and whatnot, now is not the time for her to self-advertise! There is a time and place for that.

Imagine everyone freaking out over Trump, ICE and the LA fires as you're all trying to console one another then she's here promoting her shows like it's nothin'! I'd be fine if she at least held charities with her characters and VAs similar to what Alex Hirsch and his team did.

If you ask me what other good stories revolve around rising up against the status quo, newfound families and mercenaries, it'd be "Teenage Mercenary" (which is a Webtoon a series) and "Spy x Family."

When people talk about the issues with the story, I think we're onto something when everyone keeps talking about Stella. The reason why people are so thoroughly disappointed in the show as a whole ties back into Stella and her role as a villain.

To be frank, Medrano isn't a real artist. The only thing she understands, truly, is the technical side of animation, and she doesn't even know how to do it well. She doesn't have an artistic hand in her shows in any other way than writing. And just as she doesn't understand shape theory to character design or how to use animation to tell her story (as she rushes her animation to where important narrative beats in the environment are a blink and you miss it occurrence), she has not the faintest idea how narrative structure works. She disregards world building because she doesn't even understand the importance of it to a story. She thinks the characters are all that matter for a "character driven" narrative, but fails to grasp even the fundamentals that characters are a combination of internal and external factors and their identities hinge on the consistency and understanding of the rules of their reality.

Stella being the main antagonistic force to the story necessitated her being a balanced and thought out character. Characters are defined by their shadows. For Stolas to make sense, Stella needed far more internal motivation and weight as a character. The episodic structure blatantly ruins the attempt at serialized fiction and no one who has written for the show so far has a grasp of how to balance that kind of structure.

[auguryofjellyfish]

This is the main blog of @misha-v and I just wanted to say that I really love the long commentary tags you leave on art reblogs complimenting all the little details, it means so much to me when ppl notice and appreciate those and take the time to point those out and explain why they like them, you especially. It makes me feel rlly good inside and it kind of keeps me going because I know for a fact that you love it to the point where you're willing to dedicate your time to leaving those long tags ^^

So thank you, thank you so much ^-^

hi!! thank you for taking the time to write such a long and kind message! i'm always blown away when people tell me they appreciate my tags, like fr, wow?? i'm so so happy to hear how they make you feel <3 the tetro community artists create a lot of things that i find pleasant, thought-provoking, impactful, or things that evoke feelings in general, which makes the words come to me more easily. i always like it when i find i have a lot of things to say about a piece of art! i'm glad that my words can brighten people's day too.

speaking of yapping, i hope you don't mind cuz i wanna do that right now :3c I LOVE YOUR ART!!! you have mastery over using shapes, the general "blockiness" of your style reminds me of those early 2000s cartoon network shows, which is nice to see because these artstyles aren't that popular nowadays. so that, + the smoothness and thickness of your line art makes your character artwork look really defined and sharp.

and your colour choices... i have no idea how you do it, but they're just sublime. like in your DRDT designs, for example, the cream + gentle red of okazaki's suit, the greenish black of hiroaki's, the vibrant orange of isono's hair contrasted with the bluish green, the beautiful purples, pink and white of tamba's outfit... bruh. this stuff almost brings me to tears. it's breathtaking how beautiful these colours are, and how well they go with each other. they make my brain go brrrr.... not to mention the designs themselves are fire too RAAHHH!!! lies down... i just think it's neat.

also i need, neeed to talk about your chap 3 au. it's so meaningful to me. i've seen people kill off wada as a victim in their AUs A LOT, it's like a staple at this point. usually, it's him taking someone else's place or just to have him die in general ig, and i don't find that very compelling. like, oh wow, victim wada?? definitely haven't seen that before lol. but in your au, he dies, but it was because he decided to strike back against his abuser, and i find that so beautiful.

disclaimer, ik okazaki is also a teenager and i'm not celebrating her death etc. but the fact still stands that wada is a victim, hers and in general, and you had him take back some of his power for the first time in his life. not only that, he also inadvertently saved a person he loved from being executed (whether it was a good thing for her is another matter). the killing game itself makes the participants inherently powerless, but he acted with as much agency as you can while being inside it.

i LOVE this wada. this is such a wonderful take on his character, a version of him that's a bit to the left, that values himself and his own dignity a bit more than in canon. and maybe one that holds onto bitterness/anger more, as well. but it STILL MAKES SENSE!! it doesn't feel OOC! this au just took the him that stabbed okazaki as self defense and turned that into more active and retaliatory force.

also, strangling a mf to death with HDMI cables is just iconic. pure king shit. anyway... i'm very glad that canon wada's survived this long, and i love him for who he is, but if he had to die, it wouldn't be so bad if it had gone something like this. thank you for creating such an awesome AU.

[everybodyknows-everybodydies]

1, 2, 10, 14 for Molly and Kharish :)

THANK YOU JAY <3 c':

1. What was the original thought that led to the creation of this character?

Molly: I'll be 100% honest it was this specific "yeAUGH" sound the Breton lady in Oblivion makes. I was stumbling my way through the game and whenever I jumped off a staircase she was sounding like she'd just broken both ankles and I was like 😭😭 I'M SO SORRY... every time it happened I would catch myself thinking "oh she is having the absolute worst time." and then I had to interrogate that further by expanding upon what the absolute worst time looked like.

Kharish: was sitting on the couch watching Knight boot up Skyrim on their playstation. "YOU CAN PLAY AS AN ORC? AN ORC LADY??" I uttered, lesbianly. (they made a Bosmer but assured me that yes this was a possibility.) then I acquired myself a copy on my laptop, learned more about the travesty that is the writing for Orsimer in Skyrim, got my brain infested by wizards, and said "but what if.............." and proceeded to marinate for [REDACTED AMOUNT OF TIME]

2. How long was the process before the character reached its final version? (or a version that would be clearly recognizable as the character?)

Molly: hilariously and miraculously she was pretty fully-formed from the get-go, but it took some time for me to flesh out what I thought her life pre-Crisis looked like just because she was so defined by how her life going to pieces shaped her in my head. still is, but now I've got a better idea what those pieces formed before :') at one point though after I'd finished the Shivering Isles I opened the game to discover my save file had been corrupted somehow and the only save I could load was prior to the Bruma gate, which was when I went "oh, okay, so you fully want to DELETE yourself" re: the mantling arc fhdslfkjsd. even my first doodles of her looking back are pretty consistent with her character design lol. only really major thing is that was before I'd decided I liked Bretons having the little point to the ears

Kharish: actually probably quite some time!! due to being Quite Ill™ when I first picked up the game(s) I was not doing my best thinking or existing frankly to be honest so I spent the majority of my first playthrough just absorbing and observing. once I set on where I wanted to focus in (and was no longer consuming 97% brainpower just by being in pain) it was much less time though! (visually speaking however those who were present on my Ye Olde Patreon at the time may remember some doodling I did of the character that would later become Kharish... I don't think those would be recognizable as her now + even after I started talking about/drawing for TES more publicly it took me a bit to land on how I wanted to draw her in a way that LOOKS like her to me)

10. What is their main character arc in the story? Where do they start and how do they develop? Do they get a happy ending or is their story a tragic one?

Molly: negative(?) character development... she starts having been put into an impossible situation she somehow survives; finds some unhealthy codependence respite in the company of Martin, who remembers, and Baurus, who never knew; faces the looming spectre of "after it's all over and everything goes back to normal" that people keep talking about with the absolute certainty that there is not a normal for her to go back to and if she goes back it will all be wrong no matter what; becomes more resilient in her quest to get killed for something despite that being the opposite of what she thinks she wants; has everything crash down on her head again when it's Supposed to be over; goes to the Shivering Isles looking to get killed for real this time please and instead is forcibly given Madgod Therapy; succeeds in erasing herself at last. so... if you squint you might call it a happy ending, given that she does technically get what she wanted!

Kharish: one of the main "points" I guess of her character is stability, so she doesn't undergo nearly any as dramatic changes as the others lol, but she starts out looking for more to learn away from the Big City + ends up getting to be part of a major academic discovery and also smash a scary guy's face in. and makes new friends!! and gets smooched sometimes even... turns out you CAN have an unambiguously happy ending* if you're not one of the protagonists of the world :P

14. Do you have any quotes tied to the character, either from the story itself or from another source that fit them?

BOY DO I LOL. character tags have some but bc I am me I'll pick a couple that I don't think are in there... for Molly I always think of "I Put The Coffin Out to Sea" but especially the lines "I am obsessive. I contain nothing but the replay. / I am blood and blood and replay. I am please don't go."... woman who can't conceive of a future because of the destruction of the past and seeming futility of the present. the whole thing is so so good though if you've never read it before.

then massive tonal shift lol but for Kharish I think often about the bit in TLU where Schmendrick is posturing and preparing spells and judo moves and whatnot and then "Molly picked up a rock." always makes me laugh but that kind of combination of humor and practicality and "this is what I can do, so I'll do it" is what I try to aim for with her :')

[boundless-ut]

Here again with more questions abt the lore!

For these current characters, a few dont really seem to be human... or normal paper folk anyways, are there any unique species? Or are these goof balls just unique ones? Like quark, the skull candle fella (forgot their name) and page most of all!

Is there a reason page doesnt have a face? Or will they get one in later versions of the game? How do they communicate to others? Telepathy? Sign language? Writing? Or do they just... talk anyways?

I so would love to make ocs for this already!!

Oh and a silly ask, if I gave quark a konpeito would they be offended? (Konpeito is a candy that looks like their head shape)

-paper anon

Thank you for the questions! I'll answer them as best I can! The responses get a bit lengthy, so I'll number them.

(In the future though, I'd highly recommend sending questions individually. If there's ever the case where I can't answer a question to the point where not answering would also be an answer, I'd have to scrap the entire ask even if there are other questions I can answer, and that'd be a shame!)

1. Species:

In regard to species, the Lorian Plane is a very magical place, as such, many unique and interesting species have come to exist within this reality! Quark is a part of a broad species called "Thingkin", an in-universe term for all the 'object head'-esque characters. Thingkin are created when an otherwise inanimate object becomes animated through an ancient form of magic. The less refined version of Thingkin are just called 'Things', which describes an animated object that looks more like itself than a humanoid body with the object for a head.

Candlevera (a unique-ish name, it's Candle + Calavera! Candlevera ✨) is a different story. The same way magic can bring inanimate objects to life, there's magic to animate dead things as well! (Bones are just things after all) It's a bit rude to be woken up from your eternal slumber like that, but Candlevera is making the most of it. There are also a few others that are 'one-offs' like Diamond where you might not necessarily see more of their species in game, but there are. There will be some 'one-offs' that are actual one-offs but they're rarer cases and are going to be mostly things like (main) bosses. On the subject though, the 'normal paper folk' are actually these little fellas!

(L➡R: Digsby Jones, Train Station Master, Plain Dotty) They're called Dotties! They're a bunch of soft little fellas with fluffy tails, named after their typical face marking which is a dot of color on their face. Though, like in the case of Digsby, that 'dot' can come in a variety of shapes.

Dotties can also have a colorful body and a white marking / tail! Or have a colorful body and colorful marking / tail, or even have the same color for both. I created them to be flexible and fun to customize :)

2. Page:

What Page is is a bit of a mystery! Page doesn't quite fit into any of the 'defined' species that exist in the lorian plane. The lack of face is considered strange even by lorian standards, but in a world full of oddities it's one that most can look over once they get to know Page better. Despite a lack of a face, Page is able to talk with others just fine! Those unfamiliar with Page might have a hard time gleaning what Page is feeling at the moment at a glance (considering the lack of face), but in conversation Page makes up for this with a greater emphasis on body language. Page's design is pretty set in stone for the time being, so I don't expect it to change any time soon. In terms of character design norms, it's probably a bit of a risk to have a faceless protagonist, but I think I can make it work well enough.

3. Konpeito:

I'm glad the fact that Quark is a konpeito came through! Though I suppose it's a shape you'd recognize if you know what it is. He wouldn't be offended at all. In his case, it'd be like giving someone a gingerbread man...or...giving a magical gingerbread man a gingerbread man (since Quark is a konpeito thingkin)

It's definitely a complicated question, but the simple answer is that he'd eat it, (he has a bit of a sweet tooth!)

[total-drama-brainrot]

Sometimes i think about if i may be to obsessed with Trent, like i try and make some headcanons or something for him (duntrent sounds funi to me)

Like I headcanon that during the whole drama brothers phase he was the only person with a drivers license and he also ran over Cody (once)

Like he has pitched a whole ass tent in my brain and is not leaving….

-Ass Stars anon

Hello hello total drama brain rot how you doing 👋😊

Hello hello Ass Stars Anon, I'm doing well! I hope you are too. 👋☺

Trent is our dumb little princess who deserves only nice things in life. He's very blorbo-shaped despite his lack of defining personality (during Island) and/or his title of the Narratives' Favourite Punching Bag (Action did him so dirty character wise), but you have to remember that Trent was intentionally designed to be the "normal guy", meaning he's got the same appeal as any other "everyman protagonist"; that is, you can project/insert as many headcanons onto him as you'd like and they're all feasible! A jack of all trades, if you will.

(DunTrent is the mirror image of Gwourtney in my mind, which makes it very funny to imagine. I wonder how it'd work out?)

Trent is just functional enough to have gotten a driver's licence post-Action, and he probably inherited a beat-up pickup truck from his dad, or was gifted a second hand Ford Focus for his birthday. He's altruism would quickly lead to him becoming friend groups' allotted taxi driver, though he laments his charitableness when they take advantage of this.

The Cody incident was probably an accident (...at least, that's what he claims 😈), since I can imagine Cody being the eternal passenger princess to Trent's long-suffering designated driver. Justin and Harold would be the bickering siblings in the back seat on their way to their next gig, since they has tour bus privileges revoked after one of their public scandals leading Trent to be their main means of travel between shows. (He's itching to run over his bandmates at any given moment. Every time one of the boys walks in front of his car it's an internal battle against his morality and the desire to floor it.)

He's just a silly guy! 😋

[your-local-uwu-artist]

HAIIII how about 1, 11, 26, and 34 for the OC ask game :3

alola >:D

1.Have you ever picked up a habit from developing/writing one of your own characters? And if so, who and what?

i don't think so actually. generally I give my habits (and habits from friends and family and other irl people) to ocs instead. I have picked up some odd habits from drawing and cartoons in general though, especially anime. mostly cause my brain can't exit artist mode and i'm constantly thinking about how i would draw stuff, so it's like that 'making weird faces when your drawing an expression' but instead it's 'over exaggerates my every movement because i am thinking about how i would draw that movement'

11.Which character has been through the most design changes?

gosh! a lot of pokemelody characters have beeen through DRASTIC design changes but not like, the most. so probably my sona character! here's a sketch i did once showing the basic progression. during the redesign segments though there's a bunch of mini phases of drafts that didn't stick. they've been through a few different eras. I like to split it into three main eras! the primative era (defining traits are galaxy hair and high fantasy aesthetics) the Sailor era (this era had the most story as a self insert oc, defining design traits is a sailor-fuku outfit and pigtail buns.) the confused era (era where i rebooted my sona but was still figuring stuff out, this era's defining traits is a visible ribcage, and way too busy/unfocused of a design) And finally the modern era! (simpler and more focused design but has a couple other forms with the shape shifter aspect. notably while theres still some scrapbook/sewing aesthetics the entire body is now bjd/doll instead of being a confusing mix)

fun facts about the design/s

-sailor era design had no heterochromia and had my irl brown hair, because i was younger and cringe culture was still super prominent: specifically that part where every 'character design tips thing' would tell you to avoid stuff like heterochromia and fangs and cool colorful hair unless they god forbid look like a mary sue.

-i think i've said this before but a year or so after I added that front bangs super long back hair short thing (plus litterally had my hair cut to match) a popular/influential artist made a character with this trait and it suddenly became a more common design trait. obvi i'm not trying to 'gatekeep' the design or claim i'm the first guy EVER to come up with it. but i would be lying if i didn't say i feel 'ahead of my time' and think it's funny to joke about this super big artist that def doesn't know i exist having 'copied' me fndjask

-one main design shift is the shift from the angel aesthetic to adding in some demon aesthetics

-all throughout the confused era the angel wings changed color according to mood, the chart used was to inconsistent and complicated though so this trait ended up being lost.

-starting with the confused era and sitll present in modern era my sona is a shapeshifting shiny mimikyu :3 and the idea is that their humanoid form is like, lowkey hollow, so the mimikyu body is inside

-despite having more inhuman traits i'd actually say modern era sona takes more inspo from my irl appearance than any previous design

26.What's your favorite relationship/dynamic between a set of OCs?

afndsjkfna i can't choose because i love different dyanmics for different reasons fnsdjkaf. ummm heres some honorary mentions!

-Sunny and Daisy, they're dorks in love, nice simple and wholesome! good ol' healthy loving relationship! classic malewife x girlboss lowkey

-kazumi and fukusha have this thing where they hate each other's guts, it's fun!

-SCOTT N TIP i've only posted about them once and they're lowkey co-owned sorta? (i designed them on my own and then an irl friend of mine took a likeing to them and started writing short stories with them, we'd like to make a point and click game series called 'Dectective Cardimen Scott + Tip' with them someday :3) Scott and Tip's designs litterally came from a little excercize I did on designing duos. Scott's a private investigator and was looking for an assistant, the enthusiastic Tip took up the job! they have this cartoon-inspired dynamic where their relationship is vague and up for interpretation. They're business partners and roomates at the least :3

34.What scene that you've written/imagined is your favorite?

hmmmmmmmmm generally speaking i prefer the like inbetween anti-climatic slice of life-y scenes but theres this climatic/hyped-up scene in arc '1.5' of Pokemelody that I'm excited for in the theoretical future where i make this a thing. arc 1.5 is the start of a redemption arc for the final villain of arc 1, the plot is the villain searching for someone she did something unforgivable too with the goal of apologizing.

also scenes where the characters are finally happy and content and theres shojo sparkles to express this my beloved.

scenes i include a lot of because they're what i want to see more of is like, characters having weird inhuman-physical traits both as casual details that are dispersed throughout but also like, when it's directly addressed or played around with. I feel like everything only ever gives me little hints of that sorta stuff and fanfic focusing on it is hard to come bye so i guess i'll just have to do everything msyelf around here lmao.

[dreamy-tvs]

I wanna ramble about my TADC OC bc god damn I'm seeing too many lovely ones and I get FOMO.

Sadly I own no references of the character itself but alas, I wanna make use of this blog ahead of time and lay out ideas I've had before writing the main Google Doc of this character as the bio, since I tend to look to solidly form the OC before writing its bio as a sort of 'finalized version'.

I'll be adding pics of things described when needed since it'll be more fun in that way.

Ladies and Gents!

Say hello to my TADC OC:

Timberly, the puppeteer, puppet and ventriloquist!

I'll start off saying that I wanted to make a clown, since I love clowns, but since Pomni is the protagonist and Kaufmo exists as well- So that's off the table. Following those very rules over no clowns I decided to do the same for the general cast, aka to vary and try not to lean too much on just one aspect, so Abstract (Zooble), animals (Jax duh) Animate inanimate (Gangle, Kinger and Ragatha) had to be only minor showings in the OC itself. So I experimented a little

Something suggested by a friend is to look up 90's toys, which I did try out to gather inspiration. At some point I reached the idea of a puppet, a sort of wooden and yarn style of doll that then shifted to actual wood body, yarn joints and lastly strings to hold up.

This is where the main body of the OC would go, Timberly was the name of the puppet, bottom heavy, rough wood shapes and long arms made to imitate something I kind of wanted to have fun with...

This smug fuck, why? His arms! The idea of wide colorful cylinders for arms, connected with strands of yarn in between down to a pair of simple pointed stubs for hands at the ends made me pretty happy to imagine. Timberly's clothing choice is still undefined but would most likely have either a long dress with puffy shoulders or even suspenders! Overall to not interrupt with the colorful segmented arms using sleeves. Hair? Not sure what it'd be like YET but I am working on it, though it might not be yarn so it isn't like Ragatha's.

Timberly as a name comes from Kimberly, but with Timber.

Second part of the character came off due to the idea of the main body being a puppet, and frankly was too amusing of a concept not to include, to which I want to introduce the puppeteer, Hans!

Hans... Is clearly meant to be like Hands, because it is in fact a giant, hovering toony white glove that handles a wood X made to carry around Timberly. Hans is essentially the movement for Timberly, while she is the physical expressions and body function such as touching objects and possessing some of the core senses. Hans is pretty simple in design due to not being the expressive one- try answering the questions:

'How are you?'

'Where does it hurt?' and

'Where is the heart?'

Without using your body EXCEPT your hand. That's Hans, it can do wavy motion to respond the first one but not much else- you don't need a reference to imagine what Hans looks like.

Lastly is one of the more personally formed parts, third "member" of those that form Timberly as a whole: Gogo!

Brandishing the same name as the character, Gogos are made by Panini, cool little plastic collectibles I remember gathering when I was smoler. Yes some of them look quite weird in shape don't ask- But the point is that Gogo is meant to imitate one of these, and Gogos are tiny, like roughly 5-8 cm or so (Look up how much that's in inches lol) and generally had varying designs, from alien to robotic to animal of all sorts. Gogo is mostly a simple big lower base with small middle body and a big head that imitates the look of a simplified Talkboy, all with a robotic appearance.

Now why would Gogo have a head like this? Simple! Gogo is the voice of the group! But since Gogo is quite small (10 cm tall) and usually sits on Timberly's head and speaks for the other two!

Now that we defined who makes up the character, there's one thing I intentionally made in a way, which was having Hans, Timberly and Gogo be almost impossible to tell if they were separate entities or a single one since in their story, all of them arrived together in one go and appeared to fall in love with the Digital Circus itself in mere moments of appearing.

Sometimes they'd behave like three people, with arguments looking like Timberly making annoyed gestures, Hans shaking either of the two and Gogo being vocal and loud- While other times they all act in one way together, Gogo speaking, Timberly gesturing and Hans keeping them on the move if needed.

Who knows what these three are, if not a single mind that fell into what felt like a dreamy blessing, or three individuals shackled to live as one?

First post using this account again, fun stuff, sorry about the text wall but if you did reach this, hope you liked the concept of the character!

I'll uh... Learn how to segment posts better soon.

[sketchbookvirtual]

Virtual Sketchbook #2

JOURNALING  – Make a visual outline of all the Principles of Design (Chapter 4) and define each one, interpreting the text’s definition of each one in your own words, so you fully understand it. Identify where you see examples of these principles in your everyday life or identify how an artist uses each element and principle by posting an example of an art form or drawing an example that uses that Principle next to the definition. (6 examples TOTAL)

Unity and variety - Having one main component or piece that ties together clashing components. The sun and moon create unity and tie the variety of colors together.

Balance - the act of equal distribution among a group of ideas or actions. The equal distribution in a 2800 calorie regiment of carbs, fats, and proteins is an example of balance.

Emphasis and subordination - The main component also acts as the part of emphasis; whereas, the subordinates are put behind to help emphasize the main component. a singular yellow rose being the emphasis and red roses being subordinates

Directional forces - The use of direction to depict situations or actions within a piece of work. A sail being bowed in a directions gives the directional forces of the boat and directs where to expect the boat to go.

repetition and rhythm - The two go hand in hand where rhythm often leads to repetition. Using patterns to create visual understanding of a piece of work. Two cities having the same patterns but just different shading.

scale and proportion - The act of enlarging or shrinking certain pieces with or without changing the look of that piece. In art scale and proportion or used to give differing impression of certain piece, essentially changing importance. However, in everyday life utility often decides change in scale or proportion such as cranes changing size and proportion depending on the job needed.

2. WRITING AND LOOKING – Just as a good cook assembles the perfect ingredients for a delicious recipe, an artist assembles the right elements for a successful artwork. Choose any artwork from your textbook and make a recipe of the composition. For example, Velásquez’s artwork, Las Meninas contains implied lines, linear perspective, a distinct vanishing point, neutral colors, highlights, focal points described by geometric shapes (triangles and rectangles) and achieves balance through placement of figures and rhythm between foreground and background etc. Make sure to include the title of your choice with the figure and page number. Don’t use my example.

Jacob Lawrence, GOING HOME 1946. Gouache 21 1/2 x 29 1/2

This art work blends simplistic painting that keeps balance and equal proportions, unifying messages, and dynamic color schemes that provides variety with complex history that is repeated with each seat, and emphasis with subordinating elements around the center character "going home". The direction forces are to the left with each seat signaling different stories as you move down the train.

3. CONNECTING ART TO YOUR WORLD – Share a personal experience of how color has affected you (one paragraph). Make sure to use some of your new vocabulary (hue, value, intensity, saturation). If you had to pick a “color scheme” for your life, what would it be?

Cinnamon is my choice for color because it is a warm color with a sweet name that depicts a positive outlook on life. The orange hue of cinnamon is the mantra for my life currently being a combination of stop (red) and slow (yellow) as I transition colleges over summer and the tedious process that it entails. Cinnamon's intensity, or lack there of, contributes to the level at which I do things (moderately slow). Cinnamon's high saturation is the greater ability to adapt or absorb whatever is thrown at me.

4. ART PROJECT – ARTIST’S CHOICE - Draw a cartoon or make a painting. The form: If you choose the cartoon (comic) it must be at least 3 panels. The size is not important. The painting can be executed with any of the materials (media) outlined in your textbook (see Chapters 6 and 7) and note that painting involves the use of WET media, drawing usually refers to dry media – I want to see PAINTING if you choose to make a painting, DRAWING is NOT the same thing). The content: The subject matter should be something that you are passionate about – something that has a deep personal meaning for you. The comic or the painting should be able to tell some type of story that relates your feelings about your chosen subject matter. Post pics of the finished product (in-process photos are also interesting!).

PHOTO/DESIGN - This will be a graded Discussion. Find it here:Photography/Film/Digital/Design 

Group 4

Top Five Interactive Designs, According to Nathan Blair.

https://sermons.com/

Also in your sketchbook, please pick your favorite from the above named examples and answer the following questions:

Sermons.com

What makes a good interactive design to YOU? What is the intent for the site/app you chose? Does it fulfill its purpose? (4 sentences)

Simplicity is the most important aspect when it comes to websites. When I go to a website I'm trying to accomplish something or get some information. Sermons.com, my father's website so there is some bias, fulfills this objective perfectly and just as Saint Anthony said "A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away." This quote was only one click and a key word search, simple enough for anyone to use and definitely needed when the targeted audience is not tech savvy.

[deeranddragons]

For the art ask: 4, 14, 17!

4. What defines your artistic style?

I feel like my art style has changed a lot, especially over the past year- I’ve been experimenting a lot with face shapes and shading and stylizing things. One thing I’ve been unable to shake is my commitment to (arguably) unnecessary detail. Ifeel like Abel’s armour is a prime example of this 🫣

And of course, something that I’ve been doing for basically as long as I’ve been drawing seriously is adding a little cowlick to the back of peoples heads. It’s how I start drawing basically every hairstyle!

14. What do you like drawing the most?

This is a callout post for myself, but I just love drawing characters with narrow faces and at least partially shaved heads. A lot of it is familiarity- the main ocs I draw (Kal, Korin, Kent) all started off as self inserts that turned into their own people with WILDLY different personalities, but they still look a lot like me, as a relic from that past. Sometimes I think of changing their designs bc it feels like it’s confusing, and also it’s a little strange having someone wearing your face doing terrible things for the sake of the Plot, and/or kissing other characters, but the ability to use my own face as reference is too appealing to let go. I’m attached to their designs now!

17. What would you absolutely refuse to draw?

I feel like there’s two answers to this question: there’s a number of things I wouldn’t let people pay me to draw, just because I’m not confident enough in my ability to do it justice. Complicated mechas, vehicles, and any hyperrealistic portraits fall under this.

That being said, if I was just doing it for fun, and wanted to draw something badly enough, I am filled with enough hubris to at least attempt just about anything. I’m straight up teaching myself how to paint metal, which wants me to throw my tablet through a window, so that I can do Abel better justice when I draw him! I spend a lot of time making my life more difficult for the sake of Artistic Vision. Art school really cultivated that attitude, because it forced me to draw a lot of things I never had before, so trying new things doesn’t seem so insurmountable anymore- and it gave me a great foundation of skills that makes it way easier to approach new or difficult subjects.

Ask game here!

[mayakern]

as a long time fan of supergiant games and as someone who was obsessed with greek mythology as a child, i am EXTREMELY pumped about hades II. but also very curious about the new main character’s design. i feel like sgg (really, jen zee specifically) usually does a really good job of telegraphing their designs so that if you know the most basic things about a god, you can recognize them on site based on their design.

from the shape language to the posing to specific visual elements, they make sure that even at a quick glance the characters are not only distinct from one another, but have enough references to their domain and mythology that they are very recognizable.

i think demeter is one of my favorite indicators of this and one of my favorite hades designs over all. she’s not interpreted in the way a classic demeter is, and that’s part of what’s perfect. she’s been built at with little hints and references in other characters’ dialogue that paint her as critical, overbearing and not exactly trustworthy. and when you see her you’re like, “what, this is the goddess of the harvest?” with the absence of persephone and her casting the earth into famine, it makes sense that she doesn’t look bountiful, that her cornucopia (still the classic visual reference to demeter) is empty, her wheat frozen.

but melinoë is different. melinoë is a bringer of nightmares, a goddess of ghosts. her mingled heavenly and infernal heritage manifests in her primary physical trait: a body that is split down the middle, half white and half black. this is basically her most defining physical characteristic (the other being that she wears saffron, which is bougie as hell but not the point), but here is her design from the hades II trailer:

i see the saffron, see reference to her ghostly/undead connections, and there is an element of her half-and-half complexion with those black moon armor (maybe?) coverings on her right arm and leg. but when i first saw this design i thought she was an original creation (like zagreus*), not an existing god. i’m interested to see if this means they’ll be changing core parts of her mythology (and to see if that’s reflected in her design) and to see what direction she’s headed in but really this whole long post has just been building up to me saying

WHY DIDN’T THEY GIVE HER SPLIT DYE HAIR

PLEASE IT WOULD HAVE BEEN SO PERFECT

almost every visual interpretation of melinoë, even if they don’t split her body into white and black halves like a white and black cookie, gives her a split dye. and maybe they wanted to avoid what everyone else was doing, but i feel like melinoë is unknown enough that that isn’t really a big deal. idk. i just think it would be neat. that’s all.

(*yes i know there is a zagreus in greek canon that is the first iteration of dionysus and is the son of persephone and zeus but i feel like game zagreus resembles his mythological counterpart so little that he’s basically an original creation, and maybe they’re doing the same with melinoe! since she is also technically the child of zeus and persephone**)

(**depending on the canon it’s either zeus disguised as hades or zeus and hades are two aspects of the same being)

[postmodernbeing]

Shingeki no Kyojin Headcanons: 104th training corps (College AU - Outfits pt I)

Hello, Postmodernbeing here. I decided to continue writing about this College AU , only this time, I'm making some outfits HCs, since I'm working in a oneshot and this visuals could be helpful. Also, it seemed like a lot of fun so I've decided to give it a try. Hope y'all like this. Much love.

IMPORTANT: I do not own Shingeki no Kyojin nor the trend of this outfits-displays, only this HCs belong to me. // Contains spoilers (for the icons that I used in some characters) // English is not my first language, so I ask for your patience and understanding.

Eren Yeager

Chains and rings of stainless-steel. Combat boots matching faux-leather jackets with studs and pins from bands.

Has a few flannel shirts (that he stole from Zeke, his brother doesn't mind, tho). But for the most part, Eren's shirts are from merch of bands with a few (handmade) changes.

Eren likes to sew badly on purpose some patterns or figures by following quick tutorials. All his clothes are modified or drawn over.

While his main looks are metal head alike, he also wears snickers, hoodies, sporty pants, and jackets to class. Pretty laid back, he looks as he just woke up from a nap all the time tbh.

Sometimes goes skating but he’s not that good, his skateboard is more of a fashion statement really.

Has both ears pierced around (lobe type) and tattoos on both arms.

It’s pretty obvious to this point, but I’ll say it anyways: Eren wears black religiously. Definitely he’s open to darker shades of any color, but must wear something black at least.

Mikasa Ackerman

Our girl wears black clothes mostly. She doesn’t have a preference between skirts/dresses or pants, but you’ll rarely see her wearing jeans.

Many skirts and ripped tights to match with platform boots or classic converse. Also owns a large wardrobe with different hoodie and shirt sizes and designs yet mostly in dark shades.

Lots of necklaces and rings with perforations to match, none in her face yet lots in her ears. Mikasa has only one tattoo: Azumabito’s clan logo.

Speaking about Azumabito’s, whenever she’s working with them, she wears faux leather jackets at most, and her classic red turtleneck. Nothing too exaggerated nor formal.

A total goth since middle school, and even though in college finds it a bit unpractical, she tries to keep it as loyal to her style as possible.

Books and notebooks are part of her attires. She’d be writing or reading at any time that’s possible. Not always about her classes, tho. She also likes novels and arts. An artsy goth, perhaps?

Armin Arlert

Sky blue is his color. Matching it with classy pants and blazers in clear colors.

His wardrobe looks like one that belongs to an aristocrats’ son. Some light-academia realness.

He can pull off some casual looks with sneakers but it’s more common for him to wear his oxfords, cap toes or moccasins to class, or anywhere really.

Cardigans, vests and blazers are his best friends as soon as autumn arrives. Always in colors such as beige, green, brown, and grey.

Armin is easily the best dressed from all his group of friends, and I’m not even open to discuss this. Let’s just remember his canon outfits throughout the four seasons. Even in a Modern AU he’ll keep being the king he is.

Not a big fan of accessories though. Except for his handkerchiefs that match his blazers. Since his grandfather used to choose his clothes, he taught Armin that a handkerchief was a gentleman’s must carry. Now he wears them only to pay his grandpa honor, as a lesson more so.

Jean Kirstein

King of brown jackets and turtlenecks. Really, his wardrobe is in such color harmony. It’s impressive.

Little to no accessories besides an occasional scarf or a single ring matching some bracelet.

Although he’s used to wear a consistent type of clothes and even colors, he wouldn’t dare to define a style for himself, is it boho? art hoe? dark academia? Maybe we’ll never know.

Zero perforations only because he’s scared of pain, but Jean is really drawn into them, so he uses fake ones for his ears sometimes. Has only one little hidden tattoo, made when he started college and lost a bet against Sasha and Connie.

Jean’s always stylish, clean, and smelling like cologne. He also has an extensive routine for shaving, combing his hair and trimming his beard.

Second best dressed of all his friends. Lowkey loves fashion but keeps it for himself (and Marco). Plus, in her mother’s house he keeps more clothes than his dorm' wardrobe can storage.

Marco Bodt

Colorful, youthful, and casual, that’s his style. Marco’s clothes reflect his joyful personality and every time he enters a room, he brightens the mood so easily.

A lot of denim and if he’s not wearing bright colors, you can be sure he’s caring something white with him (a bandana, a baseball cap, a scarf or his sneakers).

Shares with Jean a special appreciation for clothing, except Marco prefers more laidback and casual outfits.

Has no tattoos but recently got both ears pierced. He decided to since he really likes the earrings that k-pop idols wear.

If spring was a wardrobe, Marco would have it. I can’t stress this enough. Just so pretty and genuine.

Also, he definitely uses accessories (small jelly or colorful rings, bracelets of all kinds and simple necklaces) but there's more, he uses objects that are not meant to as accessories too. Such as band aids and small stickers around his face, skates in his backpack and flowers in his pockets.

Sasha Blouse

Unironically messy style. No matching patterns nor colors, different textures and sizes that made little to no coordination in her outfits. Unaesthetic is her aesthetic.

She likes baggy jackets and jeans with big pockets for snacks obviously, midi-skirts and graphic tees. Sasha is the definition of zero fucks given and still looking cute.

Of course, she knows how to pull off some cool outfits, it’s just that she doesn’t care that much unless is specifically required.

Not a big fan of accessories besides belts (maybe) and her backpack. Unless we’re talking about bucket hats that became a must wear thanks to Connie.

“Borrows” Nicolo’s hoodies/shirts that wears with her favorite threads. Then plays dumb when her bf asks her about his clothes. They both secretly love that dynamic.

Sasha plays it safe when it's about her hairstyle, also not a big fan of makeup -at least not the way Mikasa or Historia do-, but she’s open to try new things if her best friends dare her to.

Connie Springer

King of striped shirts and golden chains. His style is mainly urban and youthful. Conniegod remains unmatched in his awesomeness even in a Modern AU, if you ask me.

Owns a collection of sneakers that wears with his numerous printed socks. So creative and colorful.

Also, Connie has a small collection of unique shaped tinted glasses, also bucket hats and simple stainless steel chains.

Has small fun tattoos around his legs and arms, ears pieced but nothing too grunge. Speaking of which, he matches religiously his earrings with his chains that hang of his belt.

Usually wears dress pants or cargo pants. Anything but denim or really skinny fitted pants. Coincidentally, most of his shirts are loose too.

Definitely brings his skateboard with him all the time so it’s part of the outfit, really (Eren tried to copy that from Connie, let’s be honest). He’s so good at skating, and when he doesn’t feel like walking around campus, skating is always a good idea.

Part II here

[ladyoftheblackpaint]

Dad-for-One Theory Breakdown

So now that the big man is out and on the loose, I was reading about this theory, and honestly it’s pretty interesting.

All For One being Izuku’s father.

Other people could probably write better analyses of the theory itself than me, but from what I understand these are some main arguments to support this being a possibility:

Firstly, let’s talk about AFO’s appearance.

He’s shown with white hair in the anime when he was younger, as does his younger brother. His eyes are constantly shadowed even before his face got jacked up by All Might.

So genetically speaking, here are the traits that constitute Izuku and his parental figures:

One of Izuku’s parents would need to have freckles

One of Izuku’s parents would need to have green hair (check)

One of Izuku’s parents would need to have curly hair

One of Izuku’s parents would need to have green eyes (check)

One of Izuku’s parents would need to have his eye shape (check)

One of Izuku’s parents would need to have his skin tone (check)

The thing with genetics, though, is that they’re weird things and parents are not always the sole givers of traits.

As we can see, from the parts of All For One’s face that is visible, he doesn’t have curly hair OR freckles, which is sort of a big kick in the gut for this theory.

Irregardless, I do have to say that theory, though, does have a point with the fact that his eyes are hidden. Most of Izuku’s traits seem to come from his mother, and the fact that two of his most telling traits (his curly hair and his freckles) just so happen to be in the same spots that are covered up by scar tissue in the design of present-day AFO is pretty interesting.

Coincidental New Abilities Given To Izuku & Izuku’s strange pain threshold.

So this is one that I have been asking questions about. OFA is a stock piling quirk, but from the looks of it, only strength is actually passed down from one individual to the next, like an energy reserve. However, if that is the case, why is it that all of a sudden the vestiges decided to change the rules of the game and bestow onto Izuku all of their abilities.

Why not All Might? He was the closest to killing AFO in the past, so if they had done so with him he might have actually done it.

It’s possible that the reason they chose Izuku was because of the impending catastrophes that were obviously coming to fruition with the League of Villains and Tomura.

I’m left to wonder if there was another reason, though:

One of the themes of My Hero Academia is how quirks harm the user over time. All Might gets wounded and then forces himself to keep using his quirk,  Bakugou hurts his arms if he uses his quirk too much, Aizawa gets dry eye, Ururaka throws up, and the most obvious of them is Izuku-- who breaks his bones with the intensity of his quirk.

This didn’t happen with All Might and apparently not with any of the past users, either, since All Might seemed surprised at the extent since it was easier for him, even though he suspected what the consequences might be. Add onto this that the ability is now supposed to be stronger than All Might’s was, and you get the picture.

The point is: Izuku gets wounded a lot and yet seems to have the pain resistance of a freaking monster I mean:

COME ON.

Taking that into consideration, AFO has been described as being concerned about how his quirk affects his body. Since he has so many quirks that could potentially harm him and overwhelm him. I mean, look at the experiments with the Nomu-- people are obviously not supposed to have more than one quirk.

So someone with the capability of wielding multiple quirks with possibly painful drawbacks would, probably, be able to pass on some of the needed traits to keep that up genetically to Izuku, amiright.

And it’s possible the vestiges could tell that Izuku could handle it because of this genetic connection.

He didn’t have a quirk, but that doesn’t mean he didn’t get other traits from AFO if he was his father, such as his endurance and pain threshold.

Which leads me to my next point:

Extra Toe Bone

I actually just thought of this when I was writing the last point, so if it makes no sense welp...

Izuku was born quirkless, something that is considered relatively rare, expecially as the generations go on. Quirks are genetic phenomenon, and so if two people who have quirks have a child, it is VERY slim that their child will be born quirkless, unless they had a grandparent or someone else down the line who was quirkless.

Now, AFO was part of the first generation of quirked people. Meaning, his parents would have likely been quirkless, something that would have made it much easier for his offspring to be quirkless, as well.

Fire-breathing Absent Father

This is one of the more easy and obvious ones.

Horikoshi has said that Izuku’s father would show up later in the story, meaning that he has had a plot planned out for Izuku’s parents. Whatever that might be.

So that obviously shuts down the idea that his father is simply an unimportant character. To be introduced so that into the story as if he’s a vital piece for the future story seems...strange. Pretty suspicious.

Anyways, there’s also the information that’s been given about Izuku’s father having the quirk of fire breathing, and, obviously, a man who has numerous quirks would have the possibility of being a fire breather.

There’s not much else to say about this point.

Parallelism

OH, this one’s my favorite.

Okay, looking at Tomura Shigaraki’s character for a moment, we see the connection he has with Nana, one of the previous holders of One for All.

This is a plot technique that is basically just a twist in the narrative. How could someone SO GOOD and someone that All Might looked up to have a grandchild so inherently evil? His family was relatively normal, even if his father was abusive (god, that’s a terrible thing to say but I digress). His father’s abuse came from the trauma he experiences when he was abandoned by Nana, but all in all his family was full of ordinary people. He had grandparents, a mother, a sister, and his abusive dad (oh god).

Even with the heroic heritage and the normal family life, Tomura becomes one of the worst villains in the series.

By parallelism, I mean, imagine the DRAMA if Izuku-- pure, wanting-to-be-a-hero, saving everyone’s ass, sunshine child Izuku-- was the most powerful villain’s child...that’d be fucking awesome. I would shit bricks. It’d be amazing!

Possibly predictable...

But amazing!

Plus, if you look at both Izuku and Tomura’s parents, if the Dad For One theory is true, they would each have one caring parent and one “bad” parent.

It would fit so well. With the narrative of the “heroes” of society not being inherently good (Nana abandoning her child-- even if she believed it was for his best interest) and villains simply being misunderstood until the point that they snap (look at literally ANY villain in the series. There’s some type of narrative about being abandoned by society).

One of the best heroes ever producing one of the greatest villains, and vice versa.

It’d be beautiful.

THAT’S some badass parallelism.

PLUS, it would fit with the narrative of ending the cycle of violence. For a story so based on the intricacies of society and what is truly “evil” and “good”, to have an ending where the two characters stray from their genetically defined path and decide their own destinies would be SO satisfying I’m getting excited just thinking about it.

ANYWAYS, I’m not so sure how much I believe this theory might come true, but I know that it’s not a silly theory at all. Looking at the narrative, the possible hints, the parallelism (GOD the PARALLELISM) it would make sense in the long run and, in my opinion, be super interesting.